Roger Nichols

Hurriedly put together in the wake of the success of the title song, and containing the follow-up hit "We've Only Just Begun," Close to You is a surprisingly strong album, and not just for those hits. Richard Carpenter's originals "Maybe It's You" and "Crescent Noon" are superb showcases for Karen Carpenter's developing talent, the latter a superbly atmospheric, hauntingly beautiful art song of the kind that Judy Collins was doing well at the time, and gorgeously arranged…

The Carpenters' radio-friendly soft rock virtually defined the genre in the early 1970s, and this album - their third full-length - was the group's ace card. Following on the heels of the wildly successful Close to You, Carpenters features more breezy melodies marked by rich arrangements and beautiful lead vocals, courtesy of siblings Richard Carpenter and Karen Carpenter, respectively.
The record is most notable for two of the duo's strongest and best-loved singles. "Rainy Days and Mondays," written by soft pop gods Paul Williams and Roger Nichols, is a bittersweet pop masterpiece fleshed out by Richard's string orchestrations and smoothly produced backing vocals, while Leon Russell and Bonnie Bramlett's "Superstar," from its melancholic verse to its dramatic chorus, is equally hard to resist…

The Carpenters' radio-friendly soft rock virtually defined the genre in the early 1970s, and this album - their third full-length - was the group's ace card. Following on the heels of the wildly successful Close to You, Carpenters features more breezy melodies marked by rich arrangements and beautiful lead vocals, courtesy of siblings Richard Carpenter and Karen Carpenter, respectively.
The record is most notable for two of the duo's strongest and best-loved singles. "Rainy Days and Mondays," written by soft pop gods Paul Williams and Roger Nichols, is a bittersweet pop masterpiece fleshed out by Richard's string orchestrations and smoothly produced backing vocals, while Leon Russell and Bonnie Bramlett's "Superstar," from its melancholic verse to its dramatic chorus, is equally hard to resist…

With a bizzare mention of the recording equipment used on the session on the back cover of Katy Lied, rumour was the two main men of the band were not happy with the finished product.

Blacks, Hispanics, and Asians represent three of every four immigrants who arrived in the United States after 1970. Yet despite their large numbers and long history of movement to America, non-Europeans are conspicuously absent from many books about immigration…

Michael Franks' first album of the '90s and his first in three years was a complete return to form and his best album since 1979's Tiger in the Rain. Meditative, lush and clearly the work of an artist intent on making personal music regardless of trends or airplay, Blue Pacific is as open and beautiful as the ocean for which it is named. The return of the production team of Tommy LiPuma and Al Schmitt doesn't hurt either, and with such veteran pros as Dean Parks, John Guerin, John Patitucci and Peter Erskine on board, how could Franks miss? With additional production and engineering support by Walter Becker and Roger Nichols, the Steely Dan connection, previously hinted at, was finally made, with great results. It's pointless to single out individual songs, since this is very much a complete, unified work. The album marked a total rebirth for Franks.